1.5
Table Of Contents
- Color User Manual
- Contents
- Welcome to Color
- Color Correction Basics
- Color Correction Workflows
- An Overview of the Color Workflow
- Limitations in Color
- Video Finishing Workflows Using Final Cut Pro
- Importing Projects from Other Video Editing Applications
- Digital Cinema Workflows Using Apple ProRes 4444
- Finishing Projects Using RED Media
- Digital Intermediate Workflows Using DPX/Cineon Media
- Using EDLs, Timecode, and Frame Numbers to Conform Projects
- Using the Color Interface
- Importing and Managing Projects and Media
- Creating and Opening Projects
- Saving Projects
- Saving and Opening Archives
- Moving Projects from Final Cut Pro to Color
- Before You Export Your Final Cut Pro Project
- Move Clips That Aren’t Being Composited to Track V1 in the Timeline
- Remove Unnecessary Video Filters
- Organize All Color Corrector 3-Way Filters
- Divide Long Projects into Reels
- Export Self-Contained QuickTime Files for Effects Clips You Need to Color Correct
- Use Uncompressed or Lightly Compressed Still Image Formats
- Make Sure All Freeze Frame Effects Are on Track V1
- Make Sure All Clips Have the Same Frame Rate
- Media Manage Your Project, If Necessary
- Recapture Offline Media at Online Quality, If Necessary
- Check All Transitions and Effects If You Plan to Render 2K or 4K Image Sequences for Film Out
- Using the Send To Color Command in Final Cut Pro
- Importing an XML File into Color
- Before You Export Your Final Cut Pro Project
- Importing EDLs
- EDL Import Settings
- Relinking Media
- Importing Media Directly into the Timeline
- Compatible Media Formats
- Moving Projects from Color to Final Cut Pro
- Exporting EDLs
- Reconforming Projects
- Converting Cineon and DPX Image Sequences to QuickTime
- Importing Color Corrections
- Exporting JPEG Images
- Configuring the Setup Room
- The File Browser
- Using the Shots Browser
- The Grades Bin
- The Project Settings Tab
- The Messages Tab
- The User Preferences Tab
- Monitoring Your Project
- Timeline Playback, Navigation, and Editing
- Basic Timeline Elements
- Customizing the Timeline Interface
- Working with Tracks
- Selecting the Current Shot
- Timeline Playback
- Zooming In and Out of the Timeline
- Timeline Navigation
- Selecting Shots in the Timeline
- Working with Grades in the Timeline
- The Settings 1 Tab
- The Settings 2 Tab
- Editing Controls and Procedures
- Analyzing Signals Using the Video Scopes
- The Primary In Room
- The Secondaries Room
- What Is the Secondaries Room Used For?
- Where to Start in the Secondaries Room?
- The Enabled Button in the Secondaries Room
- Choosing a Region to Correct Using the HSL Qualifiers
- Controls in the Previews Tab
- Isolating a Region Using the Vignette Controls
- Adjusting the Inside and Outside of a Secondary Operation
- The Secondary Curves Explained
- Reset Controls in the Secondaries Room
- The Color FX Room
- The Primary Out Room
- Managing Corrections and Grades
- The Difference Between Corrections and Grades
- Saving and Using Corrections and Grades
- Managing Grades in the Timeline
- Using the Copy To Buttons in the Primary Rooms
- Using the Copy Grade and Paste Grade Memory Banks
- Setting a Beauty Grade in the Timeline
- Disabling All Grades
- Managing Grades in the Shots Browser
- Managing a Shot’s Corrections Using Multiple Rooms
- Keyframing
- The Geometry Room
- The Still Store
- The Render Queue
- Appendix A: Calibrating Your Monitor
- Appendix B: Keyboard Shortcuts in Color
- Appendix C: Using Multi-Touch Controls in Color
- Appendix D: Setting Up a Control Surface
• Manual Tracker: Click to enter Manual Tracking mode, where you use the pointer to
click on a feature in the preview area that you want to track. Each click positions the
onscreen tracker control manually to create a tracking keyframe, and then advances
the playhead one frame, until you reach the end of the shot. Using this feature, you
can rapidly hand-track features in shots that automatic tracking can’t resolve.
• Tracking Curve Smoothness: Smooths the tracking data to eliminate uneven or irregular
motion. Higher values smooth the tracked motion path more. You can smooth both
automatic and manual tracking data.
Note: The original Motion Tracker data is retained and never modified via the smoothing.
• Process: Once you’ve adjusted the onscreen controls to identify a reference pattern
and search area, click Process to perform the analysis.
• New: Creates a new tracker in the Tracker list.
• Remove: Deletes the currently selected tracker in the Tracker list.
• Mark In: Marks an In point in the current shot at which to begin processing. When you
create a new tracker, the In point is automatically created at the current position of the
playhead.
• Mark Out: Marks an Out point in the current shot at which to end processing. When
you create a new tracker, the Out point is automatically created at the end of the last
frame of the shot.
Using the Tracking Tab
This section describes how to use the Tracking tab to create motion paths with which to
animate vignettes, shapes, and Pan & Scan settings.
To automatically track a feature
1 Move the playhead to the shot you want to track.
Since a new In point will be created at the position of the playhead, make sure to move
it to the first frame of the range you want to track.
2 Open the Tracker tab in the Geometry room, then click New.
A new, unprocessed tracker appears in the Tracker list, and its onscreen controls appear
in the image preview area. A green In point automatically appears at the playhead in a
new track of the Timeline, and a green Out point appears at the end.
374 Chapter 15 The Geometry Room